version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.11.51"
+
@node Simultaneous notes
@section Simultaneous notes
than one voice on the same staff.
@menu
-* Single voice::
-* Multiple voices::
+* Single voice::
+* Multiple voices::
@end menu
This section discusses simultaneous notes inside the same voice.
@menu
-* Chorded notes::
-* Clusters::
+* Chorded notes::
+* Clusters::
@end menu
+
@node Chorded notes
-@subsubsection Chorded notes
+@unnumberedsubsubsec Chorded notes
@cindex chords
@cindex brackets, angle
<c e g>2 <c f a>4-> <e g c>-.
@end lilypond
+Relative mode can be used for pitches in chords; the preceding pitch
+into the same chord is still used as a reference for relative pitches,
+but when a chord is completed, the reference pitch for relative mode
+is the first note of this chord --not the last note of the chord.
+
For more information about chords, see @ref{Chord notation}.
@seealso
Snippets:
@rlsr{Simultaneous notes}.
+@ignore
@knownissues
For some reason, music expressions like @code{<< @{ g8 e8 @} a4 >>}
that should automatically turn into chords, appear split in two
staves. To avoid this, use explicit chords instead as in
@code{<g a>8 <e a>8}.
+@end ignore
@node Clusters
-@subsubsection Clusters
+@unnumberedsubsubsec Clusters
@cindex cluster
@funindex \makeClusters
themselves. Separate clusters would need a separating rest between
them.
+
@node Multiple voices
@subsection Multiple voices
multiple staves.
@menu
-* Collision resolution::
-* Automatic part combining::
-* Writing music in parallel::
+* Single-staff polyphony::
+* Voice styles::
+* Collision resolution::
+* Automatic part combining::
+* Writing music in parallel::
@end menu
+
+@node Single-staff polyphony
+@unnumberedsubsubsec Single-staff polyphony
+
+@c Already reordered as Carl suggested --FV
+The basic structure of code needed to achieve multiple, independent
+voices in a single staff is illustrated in the following example:
+
+@lilypond[quote,relative=3,verbatim]
+\new Staff <<
+ \new Voice = "first"
+ { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \new Voice= "second"
+ { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
+>>
+@end lilypond
+
+Here, voices are instantiated explicitly and are given a name. The
+@code{\voiceOne} ... @code{\voiceFour} commands set up the voices so
+that first and third voices get stems up, second and fourth voices get
+stems down, third and fourth voice note heads are horizontally
+shifted, and rests in the respective voices move to avoid collisions.
+
+Using the @code{\oneVoice} command, we can make a voice to be into the
+same @code{Voice} context before and after a temporary polyphonic
+passage. For example:
+
+@example
+<< @{ \voiceOne ... @} \new Voice @{ \voiceTwo ... @} >> \oneVoice
+@end example
+
+This construct keeps a voice alive throughout the polyphonic section.
+Using the name given when created, this allows lyrics to be assigned
+to one consistent voice.
+
+@lilypond[quote, verbatim, relative=2]
+<<
+ \new Voice = "melody" {
+ a4
+ <<
+ {
+ \voiceOne
+ g f
+ }
+ \new Voice {
+ \voiceTwo
+ e d
+ }
+ >>
+ \oneVoice
+ e
+ }
+ \new Lyrics \lyricsto "melody" {
+ This is my song.
+ }
+>>
+@end lilypond
+
+The @code{<<@{...@} \\ @{...@}>>} construction can be used as a
+simplified method, where the two (or more) voices are separated by
+double backslashes. Our first example could be typeset as follows:
+
+@lilypond[quote,relative=3,verbatim]
+<<
+ { r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \\
+ { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
+>>
+@end lilypond
+
+This syntax is simpler and can be used where it does not care that
+temporary voices are created and then discarded. These implicitly
+created voices are given the settings equivalent to the effect of the
+@code{\voiceOne} ... @code{\voiceFour} commands, in the order in which
+they appear in the code. In the following example, the intermediate
+voice has stems up, therefore we enter it in the third place, so it
+becomes voice three which has the stems up as desired.
+
+@lilypond[quote,relative=3,verbatim]
+<<
+ { r8 g g g g f16 es f8 d }
+ \\
+ { es,8 r es r d r d r }
+ \\
+ { d'8 s c s bes s a s }
+>>
+@end lilypond
+
+Spacing rests are often used to avoid too many rests, as seen in the
+example above.
+
+In all but simplest works it is advised to create explicit
+@code{Voice} contexts using the @code{\new} and @code{\context}
+commands as it is explained in @rlearning{Contexts and engravers} and
+@rlearning{Explicitly instantiating voices}.
+
+In the special case that we want to typeset parallel pieces of music
+that have the same rhythm, we can combine them into a single
+@code{Voice} context, thus forming chords. To achieve this, enclose
+them in a simple simultaneous music construction and make it to be an
+explicit voice:
+
+@lilypond[quote,relative=2,verbatim]
+\new Voice <<
+ { e4 f8 d e16 f g8 d4 }
+ { c4 d8 b c16 d e8 b4 }
+>>
+@end lilypond
+
+This method leads to strange beamings and warnings if the pieces of
+music do not have the same rhythm.
+
+@predefined
+
+@funindex \voiceOne
+@code{\voiceOne},
+@funindex \voiceTwo
+@code{\voiceTwo},
+@funindex \voiceThree
+@code{\voiceThree},
+@funindex \voiceFour
+@code{\voiceFour},
+@funindex \oneVoice
+@code{\oneVoice}.
+
+@seealso
+
+Learning Manual:
+@rlearning{Voices contain music},
+@rlearning{Explicitly instantiating voices}.
+
+Notation Reference:
+@ref{Percussion staves}.
+
+Snippets:
+@rlsr{Simultaneous notes}.
+
+
+@node Voice styles
+@unnumberedsubsubsec Voice styles
+
+@cindex voice styles
+@cindex styles, voice
+@cindex coloring voices
+
+Voices may be given distinct colors and shapes, allowing them to be
+easily identified:
+
+@lilypond[quote,relative=2,verbatim]
+<<
+ { \voiceOneStyle d4 c2 b4 }
+ \\
+ { \voiceTwoStyle e,2 e }
+ \\
+ { \voiceThreeStyle b2. c4 }
+ \\
+ { \voiceFourStyle g'2 g }
+>>
+@end lilypond
+
+To revert the standard presentation, the @code{\voiceNeutralstyle}
+command is used.
+
+@predefined
+
+@funindex \voiceOneStyle
+@code{\voiceOneStyle},
+@funindex \voiceTwoStyle
+@code{\voiceTwoStyle},
+@funindex \voiceThreeStyle
+@code{\voiceThreeStyle},
+@funindex \voiceFourStyle
+@code{\voiceFourStyle},
+@funindex \voiceNeutralStyle
+@code{\voiceNeutralStyle}.
+
+@seealso
+
+Learning Manual:
+@rlearning{I'm hearing Voices},
+@rlearning{Other sources of information}.
+
+Snippets:
+@rlsr{Simultaneous notes}.
+
+
@node Collision resolution
-@subsubsection Collision resolution
+@unnumberedsubsubsec Collision resolution
@cindex merging notes
@cindex note collisions
>>
@end lilypond
-Note heads with different note heads may be merged, with the exception
-of half-note heads and quarter-note heads:
+Note heads with different note heads may be merged, with the
+exception of half-note heads and quarter-note heads:
@lilypond[quote,verbatim,relative=2]
<<
>>
@end lilypond
+The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn}
+commands specify the degree to which chords of the current voice
+should be shifted. The outer voices (normally: voices one and
+two) have @code{\shiftOff}, while the inner voices (three and
+four) have @code{\shiftOn}. @code{\shiftOnn} and
+@code{\shiftOnnn} define further shift levels.
+
Notes are only merged if they have opposing stem directions (i.e., in
@code{Voice} 1 and 2).
@predefined
-FIXME: use this first format.
-
-@funindex \oneVoice
-@code{\oneVoice},
-@funindex \voiceOne
-@code{\voiceOne},
-@funindex \voiceTwo
-@code{\voiceTwo},
-@funindex \voiceThree
-@code{\voiceThree},
-@funindex \voiceFour
-@code{\voiceFour}.
-
-@funindex \voiceNeutralStyle
-@funindex \voiceOneStyle
-@funindex \voiceTwoStyle
-@funindex \voiceThreeStyle
-@funindex \voiceFourStyle
-@example
-\voiceNeutralStyle
-\voiceOneStyle
-\voiceTwoStyle
-\voiceThreeStyle
-\voiceFourStyle
-@end example
+@funindex \mergeDifferentlyDottedOn
+@code{\mergeDifferentlyDottedOn},
+@funindex \mergeDifferentlyDottedOff
+@code{\mergeDifferentlyDottedOff},
+@funindex \mergeDifferentlyHeadedOn
+@code{\mergeDifferentlyHeadedOn},
+@funindex \mergeDifferentlyHeadedOff
+@code{\mergeDifferentlyHeadedOff}.
@funindex \shiftOn
@code{\shiftOn},
@funindex \shiftOnnn
@code{\shiftOnnn},
@funindex \shiftOff
-@code{\shiftOff}: these commands specify the degree to which
-chords of the current voice should be shifted. The outer voices
-(normally: voices one and two) have @code{\shiftOff}, while the
-inner voices (three and four) have @code{\shiftOn}.
-@code{\shiftOnn} and @code{\shiftOnnn} define further shift
-levels.
-
-FIXME: the above description shoudl go in the main text.
+@code{\shiftOff}.
@snippets
@rlsr{Simultaneous notes}.
Internals Reference:
-@rinternals{NoteColumn}.
-The objects responsible for resolving collisions
-are
-@rinternals{NoteCollision} and
+@rinternals{NoteColumn},
+@rinternals{NoteCollision},
@rinternals{RestCollision}.
-
@knownissues
-When using @code{merge-differently-headed} with an upstem eighth or a
-shorter note, and a downstem half note, the eighth note stem gets a
-slightly wrong offset because of the different width of the half note
-head symbol.
+When using @code{merge-differently-headed} with an upstem eighth
+or a shorter note, and a downstem half note, the eighth note stem
+gets a slightly wrong offset because of the different width of the
+half note head symbol.
@c investigate! Sometimes it works, sometimes not. --FV
-It is not clear in which circumpstances you can succesfully merge
-different note heads that are at the same time differently dotted.
+The requirements for successfully merging different note heads that
+are at the same time differently dotted are not clear.
There is no support for chords where the same note occurs with
different accidentals in the same chord. In this case, it is
@node Automatic part combining
-@subsubsection Automatic part combining
+@unnumberedsubsubsec Automatic part combining
@cindex automatic part combining
@cindex part combiner
@cindex combining parts
@funindex \partcombine
-Automatic part combining is used to merge two parts of music onto a
-staff. It is aimed at typesetting orchestral scores. When the two
-parts are identical for a period of time, only one is shown. In
-places where the two parts differ, they are typeset as separate
+Automatic part combining is used to merge two parts of music onto
+a staff. It is aimed at typesetting orchestral scores. When the
+two parts are identical for a period of time, only one is shown.
+In places where the two parts differ, they are typeset as separate
voices, and stem directions are set automatically. Also, solo and
@notation{a due} parts are identified and marked by default.
\partcombine @var{musicexpr1} @var{musicexpr2}
@end example
-The following example demonstrates the basic functionality of the part
-combiner: putting parts on one staff and setting stem directions and
-polyphony. The same variables are used for the independent
-parts and the combined staff.
+The following example demonstrates the basic functionality of the
+part combiner: putting parts on one staff and setting stem
+directions and polyphony. The same variables are used for the
+independent parts and the combined staff.
@lilypond[quote,verbatim]
instrumentOne = \relative c' {
>>
@end lilypond
-The notes in the third measure appear only once, although they were
-specified in both parts. Stem, slur, and tie directions are set
-automatically, depending whether there is a solo or unison. When
-needed in polyphony situations, the first part (with context called
-@code{one}) always gets up stems, while the second (called @code{two})
-always gets down stems. In solo situations, the parts get marked with
-@q{Solo} and @q{Solo II}, respectively. The unisono (@notation{a due})
-parts are marked by default with the text @qq{a2}.
+The notes in the third measure appear only once, although they
+were specified in both parts. Stem, slur, and tie directions are
+set automatically, depending whether there is a solo or unison.
+When needed in polyphony situations, the first part (with context
+called @code{one}) always gets up stems, while the second (called
+@code{two}) always gets down stems. In solo situations, the parts
+get marked with @q{Solo} and @q{Solo II}, respectively. The
+unisono (@notation{a due}) parts are marked by default with the
+text @qq{a2}.
Both arguments to @code{\partcombine} will be interpreted as
@code{Voice} contexts. If using relative octaves,
@snippets
-Parts may be merged without printing text:
-
-@lilypond[quote,verbatim]
-\new Staff <<
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- \relative g' { g a( b) r }
- \relative g' { g r4 r f }
->>
-@end lilypond
-
-The printed text may be changed:
-
-@lilypond[quote,verbatim]
-\new Staff <<
- \set Score.soloText = #"girl"
- \set Score.soloIIText = #"boy"
- \set Score.aDueText = #"together"
- \partcombine
- \relative g' { g4 g r r a2 g }
- \relative g' { r4 r a( b) a2 g }
->>
-@end lilypond
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{combining-two-parts-on-the-same-staff.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-partcombine-texts.ly}
@seealso
Snippets:
@rlsr{Simultaneous notes}.
-
Internals Reference:
@rinternals{PartCombineMusic},
@rinternals{Voice}.
@c IIRC in users list someone pointed out more issues. TODO: lookup FV
+
@node Writing music in parallel
-@subsubsection Writing music in parallel
+@unnumberedsubsubsec Writing music in parallel
@cindex Writing music in parallel
@cindex Interleaved music
Music for multiple parts can be interleaved in input code. The
function @code{\parallelMusic} accepts a list with the names of a
number of variables to be created, and a musical expression. The
-content of alternate measures from the expression become the value of
-the respective variables, so you can use them afterwards to print the
-music.
+content of alternate measures from the expression become the value
+of the respective variables, so you can use them afterwards to
+print the music.
@warning{Bar checks @code{|} must be used, and the measures must
be of the same length.}
@lilypond[quote,verbatim]
-\parallelMusic #'(voiceA voiceB) {
+\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
- r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
- c'2 c'2 |
+ r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
+ r16 e'8.~ e'4 r16 e'8.~ e'4 |
+ c'2 c'2 |
% Bar 2
- r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
- c'2 c'2 |
+ r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
+ r16 d'8.~ d'4 r16 d'8.~ d'4 |
+ c'2 c'2 |
+
}
\new StaffGroup <<
- \new Staff \voiceA
- \new Staff \voiceB
+ \new Staff << \voiceA \\ \voiceB >>
+ \new Staff { \clef bass \voiceC }
>>
@end lilypond
@code{voiceA} ignore the notes in @code{voiceB}.
@lilypond[quote,verbatim]
-\parallelMusic #'(voiceA voiceB) {
+\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
r8 g16 c e g, c e r8 g,16 c e g, c e |
+ r16 e8.~ e4 r16 e8.~ e4 |
c2 c |
% Bar 2
r8 a,16 d f a, d f r8 a,16 d f a, d f |
+ r16 d8.~ d4 r16 d8.~ d4 |
c2 c |
+
}
\new StaffGroup <<
- \new Staff \relative c'' \voiceA
- \new Staff \relative c' \voiceB
+ \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
+ \new Staff \relative c' { \clef bass \voiceC }
>>
@end lilypond
projects / lilypond.git / blobdiff